The Dillinger Escape Plan

Ire Works

Relapse Records

Out Now

Rating: 5/5

Now, I'm actually a believer that for the most part you can tell if you're going to like a band before you even hear them. Whether it's from a vague idea of the sort of guys and gals that listen to the band or the direction and density of hype you've been in the way of, prejudiced though it may be, you have a pretty good bullshit barometer built right in. Obviously however, there are a few bands that slip the net, and TDEP sadly are just one of those such bands, and a welcome reminder that despite gut feelings it's always worth checking a band out just in case. 

From having listened to them, I can see that the screamo-emo-whatever kids that infested (I choose my words carefully) my home town were probably name-dropping TDEP just to be out-there or to avoid saying "My Chemical Romance" too much when asked about bands at parties, but bigotry aside their back catalogue is really worth checking out. I recently said to friends that as a band they were simply "necessary", and I'm not sure that I can totally better that description of their music. Extreme, mathy and laden with (depending on the record) over-produced flourishes, glitch electronic or overwrought metal theatrics, the bedrock of the music is nevertheless edgy and scattershot, not so much ebbing and flowing as striking and withdrawing. 

Ire Works is incredible as an album - coherent, and flowing together with almost a prog-rock devotion to the format, it's also quite mind-boggling that only three out of thirteen songs clock in at over four minutes. 'Fix Your Face' and 'Lurch' combine to make a brutal opening salvo, kinetic riffs clocking up the intensity and the b.p.m. before 'Black Bubblegum' swaggers in with some wrong-footing pop sensibility. 'Sick on Sunday' brings things back to task, closing on an excellent faux Deftones art rock chug before 'Nong Eye Gong' and 'When Acting as a Wave' thrash out once more, the latter a paranoid back-and-forth motion of guitar slashes and glitch full-stops. 

The latter half of the album sees the tracks lengthen and the chords expand; 'Milk Lizard' is the closest the band come to radio-friendly, while 'Dead as History' is a slice of progressive metal that Tool would rightly be proud of. 'Mouths of Ghosts', the closer, actually sounds like a strange mix of The Who and Bowie for the first half of the track, moving in shades of quasi-world music eastern scales and rhythms. When the track finally cuts loose, bizarrely it kind of sounds like post-Make Yourself Incubus, Greg Puciato coming across with a Brandon Boyd sized croon and Ben Weinman's guitars becoming truly stadium-sized. 

Extreme, original, thrilling, and utterly, utterly mental, this album is absolutely essential in every important way. 

County Champion with Trojan Horse

Islington Mill, Salford

Thursday 20th October

Rating: 4/5

I'm sure by now everyone's tired of me periodically emerging from hibernation to pen words about Trojan Horse, but well, fuck off. Tonight on an incredible bill topped by Circles and Secret Chiefs 3 (who I was regrettably destined to miss) were County Champion and Trojan Horse. The latter - if you have ever read this blog before - you will know already, but the former may be somewhat more enigmatic. 

Well, without further ado let me lift the veil. As perhaps the more acute and tuned-in of you will have noticed, the picture is of Charlie Barnes and Ste Anderson from Charlie Barnes & the Geekks... and that's because County Champion is the new name for that very band. At 2000 Trees this year they effectively announced their arrival with a new set of tunes contributed to by every bandmember, and Charlie finally assumed the frontman role he'd hitherto never quite grown into. Out was glitch-pop and in was drop-D (though fear not, he will continue to perform that under his own name). 

Even though their set was blighted by technical difficulties, you know it's a good sign when Mike Vennart and Gambler from Oceansize turn up to see your first show, and with a setlist that included 'Nasty Bastard', '18' and 'Balloons', County Champion certainly played to their strengths. Their sound is a concise blend of math and progressive, shot through with a slight post-hardcore edge. It sounds, if I were to boil it down to a single song by another band, kind of like the heavier passages of 'Only Twin', off Frames. There's that same epic abandon, the sense of the vocals riding a wave of previously contained, but now unleashed energy.

After the totally brilliant Champion boys had shuffled back into the crowd, it was time for the 'Horse to kick off their second show in as many days. They've always been an exceptionally hard-working band, and these days it seems there's not a week that goes by without a slew of Trojan Horse gigs. As they grow in stature, I'm gradually becoming one of a number of familiar faces at their gigs, and lest it smack of me laying out my wares smugly for all to see, I've got to say that it feels great to have seen a band grow from being a completely underground entity to being a major force on a local scene. That it should be a band as capriciously brilliant as TH is just icing on the cake, really. Here's to Prog Nouveau. Vive la revolution!

Steven Wilson - Grace For Drowning

So I sort of missed the announcement, but apparently Wilson is putting out his second record on Kscope. As you may be aware, Insurgentes was in my opinion better than Porcupine Tree's highly-praised Incident record, so the idea of a new one is welcome indeed. So far there's little to go on other than a teaser trailer, which you can see below.